Colorspace: a Toolbox for Manipulating and Assessing Colors and Palettes.” Journal of Statistical Software, 96(1), 1–49

Total Page:16

File Type:pdf, Size:1020Kb

Colorspace: a Toolbox for Manipulating and Assessing Colors and Palettes.” Journal of Statistical Software, 96(1), 1–49 Package ‘colorspace’ June 24, 2021 Version 2.0-2 Date 2021-06-24 Title A Toolbox for Manipulating and Assessing Colors and Palettes Description Carries out mapping between assorted color spaces including RGB, HSV, HLS, CIEXYZ, CIELUV, HCL (polar CIELUV), CIELAB, and polar CIELAB. Qualitative, sequential, and diverging color palettes based on HCL colors are provided along with corresponding ggplot2 color scales. Color palette choice is aided by an interactive app (with either a Tcl/Tk or a shiny graphical user interface) and shiny apps with an HCL color picker and a color vision deficiency emulator. Plotting functions for displaying and assessing palettes include color swatches, visualizations of the HCL space, and trajectories in HCL and/or RGB spectrum. Color manipulation functions include: desaturation, lightening/darkening, mixing, and simulation of color vision deficiencies (deutanomaly, protanomaly, tritanomaly). Details can be found on the project web page at <https: //colorspace.R-Forge.R-project.org/> and in the accompanying scientific paper: Zeileis et al. (2020, Journal of Statistical Software, <doi:10.18637/jss.v096.i01>). Depends R (>= 3.0.0), methods Imports graphics, grDevices, stats Suggests datasets, utils, KernSmooth, MASS, kernlab, mvtnorm, vcd, tcltk, shiny, shinyjs, ggplot2, dplyr, scales, grid, png, jpeg, knitr, rmarkdown, RColorBrewer, rcartocolor, scico, viridis, wesanderson VignetteBuilder knitr License BSD_3_clause + file LICENSE URL https://colorspace.R-Forge.R-project.org/, https://hclwizard.org/ BugReports https://colorspace.R-Forge.R-project.org/contact.html LazyData yes RoxygenNote 7.1.1 NeedsCompilation yes 1 2 R topics documented: Author Ross Ihaka [aut], Paul Murrell [aut] (<https://orcid.org/0000-0002-3224-8858>), Kurt Hornik [aut] (<https://orcid.org/0000-0003-4198-9911>), Jason C. Fisher [aut] (<https://orcid.org/0000-0001-9032-8912>), Reto Stauffer [aut] (<https://orcid.org/0000-0002-3798-5507>), Claus O. Wilke [aut] (<https://orcid.org/0000-0002-7470-9261>), Claire D. McWhite [aut] (<https://orcid.org/0000-0001-7346-3047>), Achim Zeileis [aut, cre] (<https://orcid.org/0000-0003-0918-3766>) Maintainer Achim Zeileis <[email protected]> Repository CRAN Date/Publication 2021-06-24 07:00:06 UTC R topics documented: adjust_transparency . .3 choose_palette . .5 color-class . .7 contrast_ratio . .8 coords . 10 cvd.............................................. 10 cvd_emulator . 11 cvd_image . 12 demoplot . 12 desaturate . 14 divergingx_hcl . 15 hclplot . 18 hcl_color_picker . 20 hcl_palettes . 21 hex.............................................. 27 hex2RGB . 28 HLS............................................. 29 HSV............................................. 30 LAB............................................. 31 lighten . 32 LUV............................................. 34 max_chroma . 36 mixcolor . 37 polarLAB . 38 polarLUV . 39 rainbow_hcl . 40 readhex . 43 readRGB . 44 RGB............................................. 45 scale_colour_binned_diverging . 46 scale_colour_binned_divergingx . 48 scale_colour_binned_qualitative . 50 scale_colour_binned_sequential . 52 adjust_transparency 3 scale_colour_continuous_diverging . 55 scale_colour_continuous_divergingx . 57 scale_colour_continuous_qualitative . 60 scale_colour_continuous_sequential . 62 scale_colour_discrete_diverging . 64 scale_colour_discrete_divergingx . 66 scale_colour_discrete_qualitative . 69 scale_colour_discrete_sequential . 70 simulate_cvd . 73 specplot . 74 sRGB ............................................ 77 swatchplot . 78 USSouthPolygon . 79 whitepoint . 80 writehex . 81 XYZ............................................. 82 Index 84 adjust_transparency Adjust or Extract Transparency of Colors Description Adjust (i.e., add, remove, or modify) or extract alpha transparency of a vector of colors. Usage adjust_transparency(col, alpha = TRUE) extract_transparency(col, mode = "numeric", default = 1) Arguments col vector of R colors. Can be any of the three kinds of R colors, i.e., either a color name (an element of colors), a hexadecimal (hex) string of the form "#rrggbb" or "#rrggbbaa" (see rgb), or an integer i meaning palette()[i]. Addition- ally, col can be a formal color-class object or a matrix with three rows con- taining R/G/B (0-255) values. alpha either a new alpha transparency value or logical (to add/remove alpha) or NULL. See details. mode character specifying the output mode for the alpha transparency, can be "numeric", "integer", "character" or "hexmode". See details. default vector of length 1 specifying the default alpha transparency that should be re- turned for colors that do not specify any explicitly (defaulting to fully opaque). Can either be numeric, integer, character, or hexmode. 4 adjust_transparency Details Alpha transparency is useful for making colors semi-transparent, e.g., for overlaying different ele- ments in graphics. An alpha value of 0 (or 00 in hex strings) corresponds to fully transparent and an alpha value of 1 (or FF in hex strings) corresponds to fully opaque. If a color hex string in R does not provide an explicit alpha transparency, the color is assumed to be fully opaque. The adjust_transparency function can be used to adjust the alpha transparency of a set of col- ors. It always returns a hex color specification. This hex color can have the alpha transparency added/removed/modified depending on the specification of alpha: • alpha = NULL: Returns a hex vector with alpha transparency only if needed. Thus, it keeps the alpha transparency for the colors (if any) but only if different from opaque. • alpha = TRUE: Returns a hex vector with alpha transparency for all colors, using opaque (FF) as the default if missing. • alpha = FALSE: Returns a hex vector without alpha transparency for all colors (even if the original colors had non-opaque alpha). • alpha numeric: Returns a hex vector with alpha transparency for all colors set to the alpha argument (recycled if necessary). The extract_transparency function can be used to extract the alpha transparency from a set of colors. It allows to specify the default value - that should be used for colors without an explicit alpha transparency (defaulting to fully opaque) - and mode of the return value. This can either be numeric (in [0, 1]), integer (0L, 1L, . , 255L), character (“00”, “01”, . , “FF”), or an object of class hexmode (internally represented as integer with printing as character). The default can use any of these modes as well (independent of the output mode) or be NA. Value For adjust_transparency character vector with hexadecimal color strings with alpha transparency corresponding to alpha argument. For extract_transparency a vector of alpha transparency values with the indicated mode. References Zeileis A, Fisher JC, Hornik K, Ihaka R, McWhite CD, Murrell P, Stauffer R, Wilke CO (2020). “colorspace: A Toolbox for Manipulating and Assessing Colors and Palettes.” Journal of Statistical Software, 96(1), 1–49. doi: 10.18637/jss.v096.i01 See Also rgb, desaturate, lighten Examples ## modify transparency of a color (in different formats) adjust_transparency("black", alpha = c(0, 0.5, 1)) ## name adjust_transparency("#000000", alpha = c(0, 0.5, 1)) ## hex string adjust_transparency(1, alpha = c(0, 0.5, 1)) ## palette() integer ## three shades of gray (in different formats: choose_palette 5 ## name/opaque, hex/opaque, hex/semi-transparent) x <- c("gray", "#BEBEBE", "#BEBEBE80") ## adjust transparency adjust_transparency(x, alpha = NULL) ## only if necessary adjust_transparency(x, alpha = TRUE) ## add adjust_transparency(x, alpha = FALSE) ## remove adjust_transparency(x, alpha = 0.8) ## modify ## extract transparency in different formats extract_transparency(x, mode = "numeric") ## default extract_transparency(x, mode = "integer") extract_transparency(x, mode = "character") extract_transparency(x, mode = "hexmode") ## extract transparency with different default values extract_transparency(x, default = NA) extract_transparency(x, default = 0.5) extract_transparency(x, default = 128L) extract_transparency(x, default = "80", mode = "integer") choose_palette Graphical User Interface for Choosing HCL Color Palettes Description A graphical user interface (GUI) for viewing, manipulating, and choosing HCL color palettes. Usage choose_palette(pal = diverging_hcl, n = 7L, parent = NULL, gui = "tcltk", ...) hclwizard(n = 7L, gui = "shiny", ...) Arguments pal function; the initial palette, see ‘Value’ below. Only used if gui = "tcltk". n integer; the initial number of colors in the palette. parent tkwin; the GUI parent window. Only used if gui = "tcltk". gui character; GUI to use. Available options are tcltk and shiny, see ‘Details’ below. ... used for development purposes only. 6 choose_palette Details Computes palettes based on the HCL (hue-chroma-luminance) color model (as implemented by polarLUV). The GUIs interface the palette functions qualitative_hcl for qualitative palettes, sequential_hcl for sequential palettes with a single or multiple hues, and diverging_hcl for diverging palettes (composed from two single-hue sequential palettes). Two different GUIs are implemented and can be selected using the function input argument gui ("tcltk" or "shiny"). Both GUIs allows for interactive modification of the arguments of the respective palette-generating functions, i.e., starting/ending hue (wavelength, type of color), min- imal/maximal chroma (colorfulness), minimal maximal luminance (brightness, amount of gray), and a power transformations that control
Recommended publications
  • American Meteorological Society Early Online
    AMERICAN METEOROLOGICAL SOCIETY Bulletin of the American Meteorological Society EARLY ONLINE RELEASE This is a preliminary PDF of the author-produced manuscript that has been peer-reviewed and accepted for publication. Since it is being posted so soon after acceptance, it has not yet been copyedited, formatted, or processed by AMS Publications. This preliminary version of the manuscript may be downloaded, distributed, and cited, but please be aware that there will be visual differences and possibly some content differences between this version and the final published version. The DOI for this manuscript is doi: 10.1175/BAMS-D-13-00155.1 The final published version of this manuscript will replace the preliminary version at the above DOI once it is available. © 2014 American Meteorological Society Generated using version 3.2 of the official AMS LATEX template 1 Somewhere over the rainbow: How to make effective use of colors 2 in meteorological visualizations ∗ 3 Reto Stauffer, Georg J. Mayr and Markus Dabernig Institute of Meteorology and Geophysics, University of Innsbruck, Innsbruck, Austria 4 Achim Zeileis Department of Statistics, Faculty of Economics and Statistics, University of Innsbruck, Innsbruck, Austria ∗Reto Stauffer, Institute of Meteorology and Geophysics, University of Innsbruck, Innrain 52, A{6020 Innsbruck E-mail: reto.stauff[email protected] 1 5 CAPSULE 6 Effective visualizations have a wide scope of challenges. The paper offers guidelines, a 7 perception-based color space alternative to the famous RGB color space and several tools to 8 more effectively convey graphical information to viewers. 9 ABSTRACT 10 Results of many atmospheric science applications are processed graphically.
    [Show full text]
  • COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING
    COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING Color space A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components (e.g. RGB and CMYK are color models). However, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with little connection to the requirements of any given application. Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space. This "footprint" is known as a gamut, and, in combination with the color model, defines a new color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB model. In the most generic sense of the definition above, color spaces can be defined without the use of a color model. These spaces, such as Pantone, are in effect a given set of names or numbers which are defined by the existence of a corresponding set of physical color swatches. This article focuses on the mathematical model concept. Understanding the concept Most people have heard that a wide range of colors can be created by the primary colors red, blue, and yellow, if working with paints. Those colors then define a color space. We can specify the amount of red color as the X axis, the amount of blue as the Y axis, and the amount of yellow as the Z axis, giving us a three-dimensional space, wherein every possible color has a unique position.
    [Show full text]
  • Indexed Color
    Indexed Color A browser may support only a certain number of specific colors, creating a palette from which to choose Figure 3.11 The Netscape color palette 1 QUIZ How many bits are needed to represent this palette? Show your work. 2 How to digitize a picture • Sample it → Represent it as a collection of individual dots called pixels • Quantize it → Represent each pixel as one of 224 possible colors (TrueColor) Resolution = The # of pixels used to represent a picture 3 Digitized Images and Graphics Whole picture Figure 3.12 A digitized picture composed of many individual pixels 4 Digitized Images and Graphics Magnified portion of the picture See the pixels? Hands-on: paste the high-res image from the previous slide in Paint, then choose ZOOM = 800 Figure 3.12 A digitized picture composed of many individual pixels 5 QUIZ: Images A low-res image has 200 rows and 300 columns of pixels. • What is the resolution? • If the pixels are represented in True-Color, what is the size of the file? • Same question in High-Color 6 Two types of image formats • Raster Graphics = Storage on a pixel-by-pixel basis • Vector Graphics = Storage in vector (i.e. mathematical) form 7 Raster Graphics GIF format • Each image is made up of only 256 colors (indexed color – similar to palette!) • But they can be a different 256 for each image! • Supports animation! Example • Optimal for line art PNG format (“ping” = Portable Network Graphics) Like GIF but achieves greater compression with wider range of color depth No animations 8 Bitmap format Contains the pixel color
    [Show full text]
  • Explicit Image Detection Using Ycbcr Space Color Model As Skin Detection
    Applications of Mathematics and Computer Engineering Explicit Image Detection using YCbCr Space Color Model as Skin Detection JORGE ALBERTO MARCIAL BASILIO1, GUALBERTO AGUILAR TORRES2, GABRIEL SÁNCHEZ PÉREZ3, L. KARINA TOSCANO MEDINA4, HÉCTOR M. PÉREZ MEANA5 Sección de Estudios de Posgrados e Investigación 1Escuela Superior de Ingeniería Mecánica y Eléctrica Unidad Culhuacan Santa Ana #1000 Col. San Francisco Culhuacan, Del. Coyoacán C.P. 04430 MEXICO CITY [email protected], [email protected], [email protected], [email protected], [email protected] Abstract: - In this paper a novel way to detect explicit content images is proposed using the YCbCr space color, moreover the color pixels percentage that are within the image is calculated which are susceptible to be a tone skin. The main goal to use this method is to apply to forensic analysis or pornographic images detection on storage devices such as hard disk, USB memories, etc. The results obtained using the proposed method are compared with Paraben’s Porn Detection Stick software which is one of the most commercial devices used for detecting pornographic images. The proposed algorithm achieved identify up to 88.8% of the explicit content images, and 5% of false positives, the Paraben’s Porn Detection Stick software achieved 89.7% of effectiveness for the same set of images but with a 6.8% of false positives. In both cases were used a set of 1000 images, 550 natural images, and 450 with highly explicit content. Finally the proposed algorithm effectiveness shows that the methodology applied to explicit image detection was successfully proved vs Paraben’s Porn Detection Stick software.
    [Show full text]
  • NEC Multisync® PA311D Wide Gamut Color Critical Display Designed for Photography and Video Production
    NEC MultiSync® PA311D Wide gamut color critical display designed for photography and video production 1419058943 High resolution and incredible, predictable color accuracy. The 31” MultiSync PA311D is the ultimate desktop display for applications where precise color is essential. The innovative wide-gamut LED backlight provides 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3, enabling more accurate colors to be displayed on screen. Utilizing a high performance IPS LCD panel and backed by a 4 year warranty with Advanced Exchange, the MultiSync PA311D delivers high quality, accurate images simply and beautifully. Impeccable Image Performance The wide-gamut LED LCD backlight combined with NEC’s exclusive SpectraView Engine deliver precise color in every environment. • True 4K resolution (4096 x 2160) offers a high pixel density • Up to 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3 • 10-bit HDMI and DisplayPort inputs display up to 1.07 billion colors out of a palette of 4.3 trillion colors Ultimate Color Management The sophisticated SpectraView Engine provides extensive, intuitive control over color settings. • MultiProfiler software and on-screen controls provide access to thousands of color gamut, gamma, white point, brightness and contrast combinations • Internal 14-bit 3D lookup tables (LUTs) work with optional SpectraViewII color calibration solution for unparalleled color accuracy A Perfect Fit for Your Workspace A Better Workflow Future-proof connectivity, great ergonomics, and VESA mount Exclusive,
    [Show full text]
  • A New Steganographic Method for Palette-Based Images
    IS&T's 1999 PICS Conference A New Steganographic Method for Palette-Based Images Jiri Fridrich Center for Intelligent Systems, SUNY Binghamton, Binghamton, New York Abstract messages. The gaps in human visual and audio systems can be used for information hiding. In the case of images, the In this paper, we present a new steganographic technique human eye is relatively insensitive to high frequencies. This for embedding messages in palette-based images, such as fact has been utilized in many steganographic algorithms, GIF files. The new technique embeds one message bit into which modify the least significant bits of gray levels in one pixel (its pointer to the palette). The pixels for message digital images or digital sound tracks. Additional bits of embedding are chosen randomly using a pseudo-random information can also be inserted into coefficients of image number generator seeded with a secret key. For each pixel transforms, such as discrete cosine transform, Fourier at which one message bit is to be embedded, the palette is transform, etc. Transform techniques are typically more searched for closest colors. The closest color with the same robust with respect to common image processing operations parity as the message bit is then used instead of the original and lossy compression. color. This has the advantage that both the overall change The steganographer’s job is to make the secretly hidden due to message embedding and the maximal change in information difficult to detect given the complete colors of pixels is smaller than in methods that perturb the knowledge of the algorithm used to embed the information least significant bit of indices to a luminance-sorted palette, except the secret embedding key.* This so called such as EZ Stego.1 Indeed, numerical experiments indicate Kerckhoff’s principle is the golden rule of cryptography and that the new technique introduces approximately four times is often accepted for steganography as well.
    [Show full text]
  • Accurately Reproducing Pantone Colors on Digital Presses
    Accurately Reproducing Pantone Colors on Digital Presses By Anne Howard Graphic Communication Department College of Liberal Arts California Polytechnic State University June 2012 Abstract Anne Howard Graphic Communication Department, June 2012 Advisor: Dr. Xiaoying Rong The purpose of this study was to find out how accurately digital presses reproduce Pantone spot colors. The Pantone Matching System is a printing industry standard for spot colors. Because digital printing is becoming more popular, this study was intended to help designers decide on whether they should print Pantone colors on digital presses and expect to see similar colors on paper as they do on a computer monitor. This study investigated how a Xerox DocuColor 2060, Ricoh Pro C900s, and a Konica Minolta bizhub Press C8000 with default settings could print 45 Pantone colors from the Uncoated Solid color book with only the use of cyan, magenta, yellow and black toner. After creating a profile with a GRACoL target sheet, the 45 colors were printed again, measured and compared to the original Pantone Swatch book. Results from this study showed that the profile helped correct the DocuColor color output, however, the Konica Minolta and Ricoh color outputs generally produced the same as they did without the profile. The Konica Minolta and Ricoh have much newer versions of the EFI Fiery RIPs than the DocuColor so they are more likely to interpret Pantone colors the same way as when a profile is used. If printers are using newer presses, they should expect to see consistent color output of Pantone colors with or without profiles when using default settings.
    [Show full text]
  • Understanding Image Formats and When to Use Them
    Understanding Image Formats And When to Use Them Are you familiar with the extensions after your images? There are so many image formats that it’s so easy to get confused! File extensions like .jpeg, .bmp, .gif, and more can be seen after an image’s file name. Most of us disregard it, thinking there is no significance regarding these image formats. These are all different and not cross‐ compatible. These image formats have their own pros and cons. They were created for specific, yet different purposes. What’s the difference, and when is each format appropriate to use? Every graphic you see online is an image file. Most everything you see printed on paper, plastic or a t‐shirt came from an image file. These files come in a variety of formats, and each is optimized for a specific use. Using the right type for the right job means your design will come out picture perfect and just how you intended. The wrong format could mean a bad print or a poor web image, a giant download or a missing graphic in an email Most image files fit into one of two general categories—raster files and vector files—and each category has its own specific uses. This breakdown isn’t perfect. For example, certain formats can actually contain elements of both types. But this is a good place to start when thinking about which format to use for your projects. Raster Images Raster images are made up of a set grid of dots called pixels where each pixel is assigned a color.
    [Show full text]
  • Iec 61966-2-4
    This is a preview - click here to buy the full publication IEC 61966-2-4 Edition 1.0 2006-01 INTERNATIONAL STANDARD Multimedia systems and equipment – Colour measurement and management – Part 2-4: Colour management – Extended-gamut YCC colour space for video applications – xvYCC INTERNATIONAL ELECTROTECHNICAL COMMISSION PRICE CODE R ICS 33.160.40 ISBN 2-8318-8426-8 This is a preview - click here to buy the full publication – 2 – 61966-2-4 IEC:2006(E) CONTENTS FOREWORD...........................................................................................................................3 INTRODUCTION.....................................................................................................................5 1 Scope...............................................................................................................................6 2 Normative references .......................................................................................................6 3 Terms and definitions.........................................................................................................6 4 Colorimetric parameters and related characteristics .........................................................7 4.1 Primary colours and reference white........................................................................7 4.2 Opto-electronic transfer characteristics ...................................................................7 4.3 YCC (luma-chroma-chroma) encoding methods.......................................................8
    [Show full text]
  • Color Space Conversion
    L Technical Color Space Information Conversion The role of color space conversion in the process of scanning and reproduc- ing a color image begins the moment an image is captured by a scanner and continues through the point at which it is output on film. For the purpose of this article we will discuss conversions between three types of color systems: RGB, CIE, and CMYK. The RGB (Red, Green, & Blue) and CMYK (Cyan, Magenta, Yellow, & Black) color models have been described in greater detail in the Linotype-Hell Technical information piece entitled Color in Printing. For some background information on the CIE (Commission Internationale de l’Eclairage), please refer to Color Spaces and PostScript Level 2. CIE as a reference color space Most scanners acquire color in the form of RGB data. The majority of non- photographic printing methods employ CMYK inks or toners. In a closed sys- tem, where the characteristics of both the scanner and the printing method are well-defined, conversions may be made from RGB to CMYK through tables that maintain a reasonable level of color consistency. The process becomes somewhat more difficult as you add monitors, other scanners, proofing devices or printing processes that have different characteristics. It becomes critical to have a consistent yardstick, if you will, a means of con- verting between different color systems (and back again) without a loss in color fidelity. This is what CIE provides. Let’s start with some background on CIE, and then we will look at how it can be applied in an open system. Measuring color Light reflected off of, or transmitted through a colored object can be mea- sured by the wavelengths of light that are reflected or transmitted.
    [Show full text]
  • 246E9QSB/00 Philips LCD Monitor with Ultra Wide-Color
    Philips LCD monitor with Ultra Wide-Color E Line 24 (23.8" / 60.5 cm diag.) Full HD (1920 x 1080) 246E9QSB Stunning color, stylish design The Philips E line monitor features stylish design with extraordinary picture performance. A narrow border Full HD display with Ultra Wide-Color brings you to real true-to-life visuals. Enjoy superior viewing in a stylish design. Superb Picture Quality • Ultra Wide-Color wider range of colors for a vivid picture • IPS LED wide view technology for image and color accuracy • 16:9 Full HD display for crisp detailed images Features designed for you • Narrow border display for a seamless appearance • Less eye fatigue with Flicker-free technology • LowBlue Mode for easy on-the-eyes productivity • EasyRead mode for a paper-like reading experience Greener everyday • Eco-friendly materials meet major international standards • Low power consumption saves energy bills LCD monitor with Ultra Wide-Color 246E9QSB/00 E Line 24 (23.8" / 60.5 cm diag.), Full HD (1920 x 1080) Highlights Ultra Wide-Color Technology 16:9 Full HD display a new solution to regulate brightness and reduce flicker for more comfortable viewing. LowBlue Mode Ultra Wide-Color Technology delivers a wider Picture quality matters. Regular displays deliver spectrum of colors for a more brilliant picture. quality, but you expect more. This display Ultra Wide-Color wider "color gamut" features enhanced Full HD 1920 x 1080 produces more natural-looking greens, vivid resolution. With Full HD for crisp detail paired Studies have shown that just as ultra-violet rays reds and deeper blues.
    [Show full text]
  • Package 'Colorspace'
    Package ‘colorspace’ February 15, 2013 Version 1.2-1 Date 2013-01-24 Title Color Space Manipulation Description Carries out mapping between assorted color spaces including RGB, HSV, HLS, CIEXYZ, CIELUV, HCL (polar CIELUV),CIELAB and po- lar CIELAB. Qualitative, sequential, and diverging color palettes based on HCL colors are provided. Depends R (>= 2.10.0), methods Suggests KernSmooth, MASS, kernlab, mvtnorm, vcd, tcltk, dichromat License BSD LazyData yes Author Ross Ihaka [aut], Paul Murrell [aut], Kurt Hornik [aut], Jason C. Fisher [aut], Achim Zeileis [aut, cre] Maintainer Achim Zeileis <[email protected]> Repository CRAN Date/Publication 2013-01-24 14:59:08 NeedsCompilation yes R topics documented: choose_palette . .2 color-class . .3 coords . .4 desaturate . .5 hex..............................................6 hex2RGB . .7 HLS.............................................8 1 2 choose_palette HSV.............................................9 LAB............................................. 10 LUV............................................. 11 mixcolor . 12 polarLAB . 13 polarLUV . 14 rainbow_hcl . 15 readhex . 18 readRGB . 19 RGB............................................. 20 sRGB ............................................ 21 USSouthPolygon . 22 writehex . 22 XYZ............................................. 23 Index 25 choose_palette Graphical User Interface for Choosing HCL Color Palettes Description A graphical user interface (GUI) for viewing, manipulating, and choosing HCL color palettes. Usage choose_palette(pal
    [Show full text]